domenica 28 giugno 2009

"Creative Kaos"

Il video “P_Art_Y” è il frutto di una collaborazione artistica tra Eifachfilm Vacirca e la stilista Maya Thor.
I due artisti si sono incontrati per la prima volta la sera del party, nella Music hall del Museo del Metaverso, dove Eifachfilm animava la festa nella veste di DJ e Maya presentava i modelli della sua nuova collezione di moda.

Fu una serata magica, quella di Venerdì 19 Giugno scorso, come il video testimonia e come la stessa Maya ebbe ad esprimere nel suo blog, poiché si creò una tale sinergia fra tutti i partecipanti e un piacere nel condividere ognuno le proprie creazioni, che ne derivò uno straordinario “caos armonico”, tale da produrre una fantasmagorica performance artistica e musicale.

Vorrei, tuttavia, interloquire direttamente con due dei protagonisti di questa serata, chiedendo a Maya da dove nasce la sua passione per il fashion in SL e come ha preso forma la collaborazione artistica con il talentuoso artista svizzero, che ha portato entrambi alla produzione del bellissimo video qui pubblicato , le cui foto sono di Maya Thor, con montaggio e scelta musicale di Eifachfilm Vacirca.

A Eifachfilm chiedo come matura il suo interesse per le creazioni di Maya e se questa curiosità evolverà in future collaborazioni.


The video “P_Art_Y” comes from the artistic cooperation between Eifachfilm Vacirca and Maya Thor.
The two artists have met for the first time at the MdM’s Music Hall, during the happening: Eifachfilm was the prestigious DJ and Maya introduced her new fashion creations.

It was a magic night, last Friday 19th June, as the video shows and as Maya expressed in her blog: a special synergy happended to the participants in sharing their creations, it made an extraordinary “harmonic caos”, too much to create a fantastic artistic and musical performance.

I would like to talk with these two protagonists. I want to ask to Maya how and why her interest started about Fashion in Second Life and how the artistic cooperation started with Eifachfilm Vacirca; the great swiss artist have made this very special video possible by the pictures shot made by Maya Thor and the post production, music included, by Eifachfilm Vacirca.

To Eifachfilm i ask how borned this interest in Maya’s creations and if there will be a future cooperation.

To be brief, since I am a real architect, I started in SL to build, a practice that I never stopped, but one day I decided to know more about design applied inother fields, design for shapes more plastic; everyday my interest grown and grown. I like to use a lot of different soft wares so I also used special tools for Fashion and now I am very fascinated by real Fashion Schools and the new process of design using modelling.

I knew Eifachfilm during a party at the MdM. I was there with two models wearing my outfits. Eifa: some days later, called me and told me that he appreciated my creations, so he proposed tome to make a video of my fashion collection. I was very happy because he is a great videomaker, so ... A few minutes later I showed the pics I made during the party and he was very interested to make a movie of them. I think that the natural and spontaneus artistic feeling between us, maybe because we feel in the same way to make works in cooperation based on respect and share.

Eifachfilm Vacirca
: i saw it and i liked it, its light and sweet for nice and proud women

Roxelo: after this video are u interested in other cooperation and about your fashion video experiences do u like to talk?

Eifachfilm Vacirca
: yes sure it was very good cooperation very smooth, so i would like to do more with maya; i worked on TV as video editor i made a lot of fashion videos :)

lucian Iwish: The Sound Cube

Mi fa piacere presentare l'ultima installazione di lucian Iwish, rezzata ieri ad Uqbar Museo del Metaverso, che io chiamerò "The Sound Cube". Questo l'url per visitarla in World:

Avvicinatevi piano al cubo e, mentre gli sarete prossimi, potrete ascolare una fantasia di suoni che aumenteranno di volume man mano che entrerete dento la installazione interattiva, la quale non si limiterà ad emettere suoni, ma interagirà al passaggio dell'avatar.

Un'opera complessa nella sua costruzione che, tuttavia restituisce un concetto semplice, quello del giocare insieme in uno spazio definito, ascoltando musica e immergendosi dentro l'installazione medesima.
E' un'opera che si può ascrivere nel filone ludico delle creazioni di Second Life, che è poi uno dei più prolifici e apprezzati.
Complimenti all'artista!

Video della 2^ giornata del convegno Ars in Ara

Ars In Ara , Arte e Comunicazione nell'era di Second Life (15) from 2lifecast on Vimeo.

Sono online su Vimeo i video degli interventi della seconda giornata dei lavori del convegno "Ars in Ara"!

giovedì 18 giugno 2009

I video della 1^ giornata di Ars in Ara

Sono su Vimeo i video della prima giornata del convegno Ars in Ara.
2lifecast's ha curato tutto ciò che ha riguardato riprese video e streaming.

2lifecast's videos

domenica 14 giugno 2009

New Second Front Video

Second Front performed thsi piece, Loosely based on the form of their previous "Al Hansen's Car Bibbe II"m this E-Happening was live at Toronto's Subtle Technologies festival. In it Second Front are trapped on the border between Canada and the USA, and are under fire. Also features virtual tanks by Chicago artist Tom Burtonwood.

Se il player non funziona, puoi guardarlo qui!

Gazira Babeli espone a Berlino: HAMMERING THE VOID

Mentre noi eravamo concentratissimi sul convegno Ars in Ara, sull'Arte e la comunicazione nell'era di Second Life, Gazira Babeli inaugurava la mostra "HAMMERING THE VOID", a Berlino e a locusolus in World. La mostra terminerà il 31 Luglio.
Patrick Lichty aka Man Michinaga e Domenica Quaranta hanno recensito la mostra con due articoli che potete leggere qui di seguito:

HAMMERING THE VOID Domenico Quaranta

“The world we actually have does not meet my standards.”
Philip K. Dick

In 1920, at the opening of a Dada exhibition in Köln, Max Ernst made an axe available for the audience. As far as I know, this gesture was never reenacted. That's a shame. An artwork should always come with an axe in attach. This would remind us that art must be loved, or hated. That it deserves more than an idiot gaze. Duchamp took years to make us accept his urinal, yet he's still unable to persuade us to use it in the more logical way: pissing into it. I bet he would be happy of this kind of interaction: turning an artwork into an urinal.

Gazira Babeli never reenacts – she acts. She's worshipped as a marabout, but she hates spells and she does her best to break them. Tell her “aura” and she'll throw an hail of meteoroids onto you. Tell her “virtual” and she'll shoot you into the air at 900 km/h. When, in 2006, she made Come To Heaven, she released the code of the performance through her website: she discovered the painful delights of being beaten up by a computer graphics card, and she wanted to share this feeling with everybody.

Yet, even on a computer screen, people keep on loving the moonlight instead of killing it, and being charmed by everything is introduced to them as “art”. Thus Gazira created the fourteen sisters. They are called Anger Erin, Envy Sixpence, Gluttony Aboma, Greed Petrovic, Lust Placebo, Pride Placebo, Sloth Swansong, Courage Sparta, Faith Radikal, Hope Varnish, Justice Kimono, Love Brandi, Prudence Miami, Temperance Navarita. They are Gazira Babeli, fourteen times. Carrying a wooden sledge-hammer, they move all together, and hit violently. When you, beloved art lover, meet them, feel free to think at the following references, at your pleasure: La Liberté guidant le peuple, The Night Watch, Il quarto stato, an army of models performing Vanessa Beecroft. At your first blow on the head, art will be replaced, in your mind, by castor oil and gas chambers.

This platoon in Wellington boots and suspender belt comes without any notice, and intervenes in social events – mostly exhibition openings – making a hell of a mess. Is this the usual, boring self-referential crap we are used to find in art? What Gazira likes is to intervene in the rituality of the real, and break up its continuity. The world she actually has does not meet her standards, and she hammers it. She works in this direction from the very beginning: just think to her earthquakes, her showers of pop bananas, her Campbell's Soup cans, her pizzas fouling up the gallery with tomato soup. Isn't she arse-hole? If you need, Gazira's hammers are there for you. Use them, against her too. That's what she wants.


When they are not swooping down on some crowd trying to smash an artist's head, Gazira's Furies are imprisoned in a claustrophobic office with a view on Windows' standard desktop, jumping around all the time. The office is encaged in a computer. The computer is encaged in a gallery. Gaz' en valise, finally. It looks like a storm in a glass snowball, until you don't open it. And it comes with an hammer, of course.

Gazira Babeli: Hammering at the Truth
The Four Elements of Virtuality

As I write this, Gazira and I were talking about my reflections on Hammering the Void, and in dealing with the moral tropes of Sin, Virtue, and most romantically, Truth, it seemed that my text less resembles an essay and more like a sermon. As this is no more surreal than reflecting on the moral implications of a horde of fourteen proxies wielding cartoon mallets, I'd like to frame this under just such a conceit of a sermon on virtual existence. Let us consider then, my Brothers and Sisters in Virtuality and Hypereality, the implications of unleashing Pandora's Box, of unfurling the Sins and Virtues forth into the Nets, armed with nothing less than Vulcan's Hammer itself; let us consider the effects thereof. I want to say that in setting this forth, the traditional Sins and Virtues give rise to four Principles of experience that remain in virtuality, and those are: Affect, Agency, Volition, and Complicity. It is through these that while after shedding the physical coil, humanity follows us into the Void. Let us meditate upon these in that we may understand the Void.

In the beginning of the Hammering the Void introductory video, Gazira and I (or my Man Michinaga proxy) sit before a screen in Second Life, marveling at an opening of 90's net artists, Vuk Cosic and Alexei Shulgin. We gesticulate excitedly like old heavy metal fans about the “Monsters of”. We agree that she must set the cloud of Gaziric Sins and Virtues upon the world, equipped with large mallets, perhaps as inquisition, perhaps as divine intervention. For the rest of the video, the Gazirae invade virtual social events akin to a host of viral Agents (as per the “Smiths” from Matrix Reloaded) creating avatar mosh pits and hammering the hapless onlookers. All of this would appear as simple farce; but I know Gazira, and we know one thing...

The Truth is out there, we are all complicit in its creation, and Gazira is hammering you over the head with it.

One point that is essential to consider when looking at the gaggle of Gazirae and their accoutrements, is that she has provided the hammer in the gallery for you. They aren't inflatable hammers, either. They're probably oak or maple, engraved with the Deadly Sins and Noble Virtues, inviting you to pick them up and play. As a side note, I had considered being more explicit in regards to “play”, but doing so would have been too heavy-handed, which is unnecessary when one is wielding an oak mallet.

As Gazira and I have continued to make works in virtual worlds for years, the question returns to the “why,” which may return us to the Cartesian cogito. However, I would like to remap the Cartesian assertion into a consideration of the increasing retreat into virtual worlds in asking about some of the things that remain in our Pandora's Box of simulation when we remove materiality and embodiment. This leads us back to the fulcrum of our sermon; the median icon of our discussion.

The sign at the center of this discussion is the hammer, the archetypal sign of Vulcan/Hephaestus, the God of Technology and Artisans. In Hammering the Void, perhaps the null-stuff of virtuality is the metal of disembodied existence that the Gazira-Hephaestae forge into an ironic tool for the dragging our own mortal encumbrance into cyberspace. Her traditional Sins and Virtues infest the online worlds, placing all they encounter upon the existential anvil or litmus test of action and reaction. There is little time for reflection, for what is under the hammer nothing less than our human nature. What do you do? From this vantage point, the result is the transmutation of the traditional Sin/Virtue binaries into monads of four human elements of virtual existence. These Monads, as we have transmuted beyond Sin or Virtue, are the principles of Affect, Agency, Volition, and Complicity. which are all complex significations embedded into Gazira's Hammer.

Affect: Identification with the act. One of the most striking images of the Gazirae is that of the fourteen Sins/Virtues rampaging before their puppeteer in a bold thrust, akin to an ideologue ordering their army into action. This encapsulates this writer''s fascination with the evident identification of increasing numbers with virtual worlds, and as of this writing, there were 65,000 people logged into the single online world of Second Life alone, showing the “reality” of virtual reality. This evidence is also embedded within the results of each intervention of the Gazirae, from the amusement of the appearance in the Uqbar region, varying to confusion and even anger in other instances. The paradoxical question of the visceral reaction to virtual events shows that affect is not just for identification for another body, but for an identification with their proxies/avatars as well. Although the avatar version of Burden's Shoot (Kildall or Mattes) is different from the first, both create a “gut reaction”. There is reality in the virtual.

Agency: The act of intervention. If the avatar did not have some sense of real agency, some ability to intervene in affairs, this essay would not exist, as Gazira would have had no effect. Perhaps this is a realization of Baudrillard's primacy of the hyperreal – the object/image that has greater effect than its subject. But this is in agreement with the principle of Agency, as Gazira, and her doppelganger Gazirae, the replicants controlled by a simulacrum, create reaction to her actions. Although this may sound like the erection of a wilderness of mirrors, there are vectors of effect as well as affect when the hammer swings. The effects of the impact (to paraphrase Sanborn) of the virtual mallet are evident in that they set off chains of causality in the physical, even if they are as simple as the fact that she occupies a space in which the hammer is realized in a gallery, asking you to pick it up and swing it yourself. And more specifically, the way she does.

Volition: The will to action. The fact that Gazira sets her plan in motion is a testament to the principle that one has the ability to act through the virtual. The Aktion zur Macht breaks the stasis of virtuality, setting forth the path of agency to the creation of affect. Through the creation of the Sins and Virtues, Gazira has set them upon others, setting up causal chains, however slight, but this prime mover, probably the simplest, is a fundamental factor of intervening.

Complicity: The inseparability from the act, or the impossibility of total abstraction. The double sign of the hammer in the virtual and the physical and their similar functions illustrates our complicity with actions in either world. Through the hammer, argument of separation of subject and object through mere virtuality implodes, as the difference is far more complex. It is no longer the question of the effects of hitting someone with the hammer in the gallery or in the virtual, as both actions hold us complicit with the real issue of violence itself actual or implied, leaving the hammer itself transparent. Violence through cartoon or oak mallet differ little in terms of their being consistent with the same practice, and that is the gesture of the swing, and the effect of the impact. Gazira and her vices/virtues ask you to pick up the hammer and hit your friend over the head with it, but then say, “Funny, that doesn't happen here... Ahahahah....” through this doubling and the resultant difference of effects, Gazira holds us responsible for the violence of signs, the affect of the impact, the effect of the hammer's extancy, the volition of the swing, and the complicity to the hammer and its function.

Before ending my sermon, I would like to talk about the narcissism of the Global Village; of cyberspace. As McLuhan said,

"The global village is a world in which you don't necessarily have harmony. You have extreme concern with everybody else's business and much involvement in everybody else's life. It's a sort of Ann Landers column writ large... huge involvement in everybody else's affairs. So the Global Village is as big as a planet and as small as the village post office."

In many ways, this intense concern is emblematic of the collective dream of pop technoculture less from from Star Trek and more to World of Warcraft. The shift of focus away from the outward vision of Buckminster Fuller 's “Spaceship Earth” to the inwardly looking complicit panopticism of McLuhan's “Global Village” seems to be the object of the swing. Perhaps this inward look is the gaze into the abyss that Gazira is hammering at. Rather than “leaping into the void” a la Klein, is Gazira hammering away at the null-sets of illusion in the void of cyberspace to get at the truths that remain in virtual existence? Is there anything there?

Or is she merely asking you to hit your friend in the face with an oak mallet because that is the most fundamental form of human communication remaining?

In the end, what remains is a communion of reflection; something that is considered an endangered species in the age of constant partial attention deficit. As the Gazirae descend upon us, there is a moment in which we are forced to meditate upon the four elements of human existence in the virtual, and then the offering is put forth.

The Hammer of Gazira. Given for you. May it dispel your illusions.


Patrick Lichty

sabato 13 giugno 2009

comet Morigi cambia il landscape del museo!

La bravissima comet Morigi ha creato un paesaggio fantastico intorno al museo e alla sua land.

Il museo e le sua istallazione sono circondati da intenso mare e montagne stupende!

Qualche fotografia per darne testimoninanza!

venerdì 12 giugno 2009

Avatar Pics Contest! Artists from all virtual worlds unite!

On the occasion of the SL6B, Koinup is delighted to announce the 1st CrossWorld Avatar Pics Contest!

Theme of this year Second Life Birthday Fair is the "future of virtual worlds", so we though to hommage all the creativity of virtual worlds members, by inviting the Koinup community to take part in the Avatar Pics Competition!

The contest is open to all the virtual worlds people. So you can join the group and enter submissions created in SL, OpenSim, Vivaty, Twinity, Warcraft, The Sims, Metaplace and so on. The theme of the contest is the Avatar! So, we invite you to create some awesome avatar pics!

The submissions will be judged by a panel of authoritative judges and the winning entries will be displayed in the Koinup Areas at the SL6B Fair art culture, Museo del Metaverso collaborate together with koinup in the organization of this contest.

Join the group, now!

lunedì 8 giugno 2009

ATLANTE DELLE VISIONI. Per la tutela, la valorizzazione e la promozione del patrimonio artistico – culturale prodotto all’interno di Second Life

In questi anni abbiamo visto cambiare notevolmente il mondo dei media, il loro potenziale e il loro uso. Abbiamo assistito ad una rapida evoluzione del mondo di internet, l’avvento del 2.0, con i suoi elementi caratteristici i tag, i blog e i social network, ha permesso che persone possano aggregarsi sulla base di specifici contenuti, condividerli e commentarli; oggi le realtà immersive di tipo tridimensionale, come second life, prefigurano ambienti e dimensioni dove è possibile interagire con un alto standard estetico e comunicativo, perfettamente adatto alla nostra contemporaneità. Abbiamo scoperto cosi un nuovo spazio pubblico, “la rete”, dove poter stabilire nuove relazioni ed interazioni.

Potremmo dire che quel “mondo della comunicazione” fondato sulla informazione, che ha caratterizzato gran parte dell’ultimo secolo, è ormai quasi del tutto alle nostre spalle, per lasciare il posto ad un “mondo della interazione” che fa della conoscenza il suo volano principale.

Nuovi linguaggi (idiomi) legati a nuove forme espressive testimoniano una fiorente attività creativa ed artistica che sembra interpretare al meglio la trans-formazione in corso.
L’arte in genere sembra meglio assecondare questo nuovo spirito del tempo e grazie al suo aspetto sperimentale e di avanguardia mette in evidenza alcuni aspetti culturali cruciali: il punto di vista con cui l’autore creava con un atto univoco la propria opera, è notevolmente cambiato poiché la dimensione sociale e interattiva del web ha coinvolto quello che fino a ieri era lo spettatore, facendolo diventare spesso coautore dell’opera stessa; le dinamiche di produzione e fruizione delle opere artistiche inoltre sembrano superare il sistema di autoreferenzialità dato dalla logica autore – opera – critico – curatore - galleria – collezionista, a favore di una esposizione, orizzontale e dal basso effettuata direttamente nella rete; la dimensione globale del proprio fare artistico e creativo è affrontata a partire da una dimensione non solo cognitiva ma sempre più emozionale, la propria individualità, il proprio racconto o il proprio viaggio sono gli elementi con cui si stabiliscono relazioni e comunicazioni.

L'occasione data dalla particolare capacità immersiva ed interattiva di second life, intesa come piattaforma mediatica con un alto standard comunicativo, è un ottimo terreno su cui la sperimentazione creativa ed artistica si è misurata e si sta misurando, un laboratorio in cui in questi anni si è accumulato un grande patrimonio culturale.
Esperienze significative hanno già mostrato quantità e qualità della produzione artistica e creativa prodotta all’interno di second life, rilevando l’enorme attività tuttora in corso in cui la comunità italiana risulta essere non a caso protagonista.
Un’attività di cui ancora sfugge la portata e di cui ancora non è stato possibile vedere tutto. ramificata in numerosissime community, social network e siti di photo video – sharing

Nasce cosi l’ esigenza di attivare, velocemente, politiche progetti iniziative e attività rivolte alla tutela alla valorizzazione e alla promozione del patrimonio artistico – culturale prodotto all’interno di Second Life. L’idea di realizzare un “Atlante delle visioni” in cui vedere tutta la produzione artistica e creativa di second life anche di quella passata, archiviare con sistemi appropriati “file” legati alle opere e conservarli nel tempo per poi renderli fruibili e implementabili ogni qual volta se ne abbia bisogno. Conservare mostre, eventi opere esperienze racconti che altrimenti sono destinati a svanire.
Gia nel 2006 Mario Gerosa formulava la “Convenzione per il patrimonio architettonico Culturale” riferita a tutti i mondi sintetici, che anticipava molte delle questioni qui descritte; oggi finalmente molti dei programmi istituzionali sono rivolti all’arte e alla cultura digitale, la Parc (Direzione generale per la qualità e la tutela del paesaggio, l'architettura e l'arte contemporanee ) con il nascente MAXXI (Museo nazionale delle arti del XXI secolo), la Fondazione Valore Italia con il MI (Esposizione Permanente del Made in Italy e del Design Italiano), cosi come l’ iniziativa del Comune di Roma con musei 2.0 curata da zètema.

Si vorrebbe cosi cogliere in questa occasione la formazione di un primo tavolo istituzionale per la tutela la valorizzazione e la promozione del patrimonio artistico – culturale prodotto all’interno di Second Life , un tavolo aperto da oggi anche a quei progetti e a quell’iniziative che vogliono concorrere alla realizzazione dell “ Atlante delle visioni”.
Paolo Valente aka arco Rosca

martedì 2 giugno 2009

Intervista a Marina Bellini e ad arco Rosca su Ars in Ara

ISnoTV presenta

ARS in ARA Arte e comunicazione nell'era di Second Life

programma interventi.pdf

ars in ara comunicato.pdf

Find more videos like this on uqbar. media art culture

Comune di Roma_Assessorato alle Politiche Culturali e della Comunicazione / Sovraintendenza ai Beni Culturali

Musei in Comune_Museo dell’Ara Pacis

Zètema Progetto Cultura
uqbar. media art culture

arte e comunicazione nell’era di second life

a cura di: Marina Bellini MUSEI IN COMUNE ROMA 2.0
Paolo Valente uqbar. media art culture

Il rapido sviluppo che i nuovi media e l’era del web 2.0 stanno portando nel mondo della comunicazione lascia intravedere possibilità del tutto nuove, come alcune interessanti forme espressive, dove l’interazione tra forma e contenuti raggiunge standard molto alti e sorprendentemente adatti al nostro vivere contemporaneo.

L'occasione data dalla particolare capacità immersiva ed interattiva di second life, intesa come piattaforma mediatica con un alto standard comunicativo, è un ottimo terreno su cui la sperimentazione creativa ed artistica si sta misurando, permettendo alla espressività dei singoli di potersi liberare all’interno di una esperienza sociale di tipo globale.

Un incontro nella prestigiosa sede dell’Ara Pacis, vuole fare il punto sullo “stato dell’arte” di questo nuovo media, attraverso il contributo dei suoi principali attori, presi nei loro rispettivi mondi virtuale – artistico – culturale – professionale.

La volontà di proporre alle istituzioni la costituzione di un tavolo permanente per la tutela, la promozione e la valorizzazione del patrimonio culturale ed artistico prodotto all’interno di un mondo in rapida evoluzione.

L’evento avrà collegamenti e interventi in second life e sarà trasmesso on line in diretta streaming.

Sono stati invitati ad intervenire:

Umberto Croppi, Francesco Marcolini, Francesco Prosperetti, Guido Razzano, Umberto Broccoli, Federico Mollicone, Giampaolo Rossi, Derrick De Kerckhove, Mario Gerosa, Carlo Infante, Mario Savini, Marco Minghetti, Giuseppe Granieri, Alberto Cottica - Cristina Di Luca, Giovanni Boccia Artieri, Guido Scorza, Luca Spoldi, Stefano Lazzari, Giovanni Dalla Bona, Marco Longo, Gino Flore, Domenico Quaranta, Giuseppe Stampone, Pierluigi Casolari, Rosanna Galvani, Biagio Francia – AOM, Fabio Fornasari, Roberta Cirillo, Adelchi Battista, Patrizia Nofi - Sonia La Rosa, Luca Spoldi, Paola Pandolfini, Giampiero Moioli, Luca Lisci, Anita Carloni.